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Matthew Vaughn already impressed us with his take on Mark Millar‘s Kick-Ass, but Kingsman elevates his bluster filmmaking style to new highs.
The classic Arthurian round table conference suggesting its clear association with Masonic Templer (Freemasonry) [Link] orders of global cryptography and it immediately recalls us of Anders Brevik (Link), purporting to be a European Templar fighting the rise of Islam.
Getting deeper Micheal Aquino, founder of Templer of set, and the commander who co-authored From PSYOP to Mindwar: The psychology of victory (Link) in which footnotes states the villainous scenarios. Ionization of the Air: An abundance of negative condensation nuclei (“air ions”) in ingested air enhances alertness and exhilaration, while an excess of positive ions enhances drowsiness and depression.
Extremely Low Frequency waves: ELF waves up to 100 Hz are once more naturally occurring, but they can also be produced artificially (such as for the Navy’s Project Sanguine for submarine communication).
It is not stochastic chance this was included in the Kingsman script, and the plot gets even battier. Sorry for the lengthy point of view about the secret Templars and its connections with the movie. Kingsman has all the constituents handy for a tasty meal of action heroics with some cheeky wit, but in its attempt both to compete and to poke fun at the spy genre. Based upon the acclaimed comic book and directed by Matthew Vaughn (Kick Ass, X-Men First Class), KINGSMAN: THE SECRET SERVICE tells the story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency’s ultra-competitive training program just as a global threat emerges from a twisted tech genius. Composers Henry Jackman (CAPTAIN AMERICA: THE WINTER SOLDIER) and Matthew Margeson score the spy action adventure comedy.
Matthew Margeson is part of Hans Zimmer’s exclusive Remote Control team, and is known for his powerful arrangements and his ability to make audiences fall in love with the music instead of the movie. Jackman and Margeson’s score for KINGSMAN delivers nail biting action sequences while emphasizing the heart of the film which lie in the relationship between Firth and Egerton.
Matthew Margeson: We wanted to make it our own thing, but we definitely needed to remind ourselves it is a spy genre film.
I think one of Matthew Vaughn’s producers went to school with Henry, so that was the initial introduction. When it came time to do a sequel to that movie, he really enjoyed what Henry did and his contribution to the pie, so he called Henry to do the score.
WAMG: From what you’re describing, it sounds like Matthew Vaughn really takes a vested interest in the scores for his films. WAMG: There are some great percussion cues throughout, especially in the “explosive heads” scenes. WAMG: Who chose the songs that show up throughout, such as “Free Bird” and “Money for Nothing”? With “Free Bird,” that was one of those things that was placed in there very early on and it stuck. MM: We had to pick and choose our moments for that because once you use a choir, there’s immediately an epicness about it. MM: As far as thematic material, his vibe was one of the most difficult times we had to really nail down. MM: I would love to tell you that I have some inside information – I know we’ve always joked about it, but a lot of it depends on how the film does. MM: When I first got involved with it, I was a little skeptical and when I sat down to watch the film I said, what do I need to do to work on this project! I can promise you, it’s got some really great laughs and some awesome creepy moments too and you have Boy Scouts and Zombies, so it’s a good recipe. MM: After many meetings, they decided they had great success in releasing this kind of movie at Halloween. I’m pretty sure there will be an R rating, so it does have some good action and some good chases, while at the same time, again like KINGSMAN, you’re laughing with the film. The KINGSMAN: THE SECRET SERVICE soundtrack will be released on La La Land Records, February 17, 2015. The story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency's ultra-competitive training program just as a global threat emerges from a twisted tech genius.
Everything about the film is absolute derisory, walking the thin line between dangerous and uproarious with cock-a-hoop wildness. When Valentine chooses a backwoods Kentucky anti-semite church, having led Galahad (Firth) there. This indicates the well intentioned intelligence agents are serving in dark plan which can be ultimately results in their own destruction.
Coming back to the movie, what’s particularly disappointing in spy riff is that there is something more interesting imbuing beneath its glossy surfaces.
This is the second collaboration between Jackman and Margeson, who had worked previously on KICK ASS 2.

Margeson composed Position Music Orchestral Series Volume 5, and has provided additional music to the scores of KICK ASS, THE EXPENDABLES, and X-MEN: FIRST CLASS. There were four composers on the first KICK-ASS – Marius De Vries, John Murphy, Ilan Eshkeri and Henry Jackman. On KICK-ASS, one of the cues on the score at the end, in the fight between Hit-Girl and Frank, Matthew was still a little unhappy with this cue.
The other extreme being someone who shoots the film and edits it, and hands it over to you and says, “here, do your thing.” What I love about working with Matthew is he’s invested in the whole entire process in post. When we go to the final mix for his films, a lot of the times if you’re doing action or chase cues, with massive explosions and bullets flying across the screen, I know music is not going to win that fight. I hate to use this cliche, but that’s part of the wink in the score and something Matthew wanted us to keep in mind the whole time we were writing. It was an opportunity to work with the visual because everything is synced up with the explosions, so we were able to get involved with the visual effects department. I usually get involved to see if there’s an underscore cue that goes into the song or for technical consideration to make sure what key it’s in and tempo – that kind of thing. We had a tune for him that we wrote very early on, but we had to rewrite it a few times to crack the encasement of it and how it’s presented. He said, “he’s a tech mogul with plans of taking over the world.” Playing out his evil scheme is with his cell phones, so Henry and I started thinking about telephones. I can proudly say it hasn’t been done before and we managed to come up with one kind of sound that you’ve never heard before in a film. I’m such a huge Sondheim fan and being from that world many years ago, it was really nice to get the opportunity to dive into some of those scores and to work with Rob Marshall who’s on the top of that game as far as musical theater and those movies go. It’s a good time of year for that film and after everyone Trick-or-Treats, they’re going to want something to do.
We’re on the very tail end of it and we’re recording with the orchestra at the beginning of March.
According to the documents of the 1312 Council of Vienne, (Link) one of the ecumenical councils of the Roman Catholic Church. MacDonald, a geophysicist specializing in problems of warfare, has written that timed artificially excited electronic strokes could lead to a pattern of oscillations that produce relatively high power levels over certain regions of the earth.
The frequency manipulation results in Galahad assassinating all the church members in a bloody festival of gore that hints at a mass ritual murder.  While Galahad did not intend to do this, the frequency manipulation resulted in his assassin programming triggering, framing him for mass murder. The Malthusian Establishment to massively depopulate (Link) the planet while being secreted away to underground doomsday bases enduring whatever the chosen bioweapons happens to be.
Here I want to add an American Air force (Link) plan with implantable microchips way back in 1990 & that’s why we are forced to its propaganda for the acceptance of transhumanism (Link) through prosthetics. With shades of 1% entitlement and climate change concerns creeping into the plot, Vaughn and fellow screenwriter Jane Goldman miss the chance to infuse some hard-hitting satire into their blood-drenched set pieces. Oh the villain here is goofy, little lisp, an antipathy to blood, and a murder that kicks the third act into gear with the effect of an instinctual punch. The duo supplied the soundtrack for the star-studded KINGSMAN with Oscar winners Colin Firth and Michael Caine, Oscar nominee Samuel L.
There are a couple of cues where Henry was brought in, for whatever reason, and there were four of them on the project. All the other composers were recording with the orchestra – they were past writing and were all on the stage recording for a week straight. Henry worked with him throughout the film and that was my first introduction to working with Matthew Vaughn, even though it was in an indirect way. He said he couldn’t prepare to write an hour and twenty minutes worth of music for this score by himself, but suggested co-composers on the film with the young lad who wrote the “Frank fight” on the first KICK-ASS and Matthew took a little bit of a leap of faith. Because MARV films, the production company, in one of the five majors, Matthew will sit there and throw different things up there. Ultimately it was just getting the multi-track from the original and doing our own deconstruction of it, because that scene is quite long.
Valentine is basically a little boy, a cartoon character – his hat is sideways and he’s funky dressed.
It was a way to remind the viewer that Valentine is from that kind of world of cell phones and tech and how we can sprinkle that throughout the score, especially in his areas.
Some of it has been shipped off to orchestration, getting it on paper and we’ll be recording in two or three weeks.
James Bond), and has a lot of fun playing with the tropes and stereotypical elements – frequently breaking the fourth wall in the process. The scandal against the Templars themselves and their order in reference to the crimes already mentioned increased.

In this way, one could develop a system that would seriously impair the brain performance of very large populations in selected regions over an extended period. It reminds me of The Avengers (1998) movie, where the plot revolved around global villains using atmospheric weapons to control earth.
Otherwise, this is frantic, unmemorable fare that rides the flaps of its own smartness without really engaging it. It let me take a big part of the responsibility off of Henry’s plate and we put our heads together and got it done together, while splitting the workload.
We’re in Los Angeles and he’s in London, where we’ll skype or face chat, and we’ll have these daily meetings with him and he’s very clear in steering us on what he wants. But on a Matthew Vaughn movie, when I say there’s a huge explosion there and I’m not going to win, he’ll be the first to say, “I’m in charge of what’s going to win and make the music louder.” We never have a problem with not being able to hear any of the music in a Vaughn film.
Part of the way we accomplished in this one are those moments that are so over-the-top, that you’re laughing with them.
Henry and I felt we had to play against that and make his music extremely serious – almost Wagnerian. Back in the 80’s and before, when you would call someone, and you couldn’t get on touch with them, you’d get a busy signal. I was in the pit band and directing small orchestras for regional theater, and then ironically, I was working at a small video rental store in my hometown, so I was able to sit there all day and watch films. It does not work as a full-on spoof, but as with Kick-Ass, Vaughn overturns the genre and produces a ballsy, wholly original idea that twists the original narrative into something else entirely. These proceedings go on to ascribe buggery and mystic and proponent practices to the Templars with the dissolving of the order forcing them to go underground.
We tried to recreate that – recorded some dial tones and busy signals and putting them through the effects chamber. From this legend came the associations with modern speculative Freemasonry and secret orders, all of which love to claim some shadowy connection to Templar-ism. Another problem with the movie is its character development; The two lead actors were okay. You’re always enjoying yourself and you can’t put the popcorn in your mouth fast enough, because you’re trying to keep up with the pace of the film. The John Williams and Alan Silvestri scores really stick with you when you’re that age while you’re watching Indiana Jones and Back to the Future. Crowley’s own Order of the Eastern Templars (Link) claims descent from this ideology, as well.  With Kingsman we can rest assured connecting these dots is precisely what is intended, since Hollywood is cinematic heresy.
Just doing all sorts of experiments with them in the lab here and eventually we came up with this weird, twisted reverse tone.
I think all those random thought processes, and being involved in directing musical theater, led me to drive out to LA and to see how I could get involved in film music. The recruits of the Kingsmen are therefore knights of the esoteric round table of the cryptoc-racy, centered in London, and as the information generally goes, all the dastardly acts of the global villains are actually the modus operandi of the heroic establishment. The relative Newcomer has a very trembling start in the film, taking a long while to really become convincing in the Role. The new knight recruits are led to believe they must sacrifice humans for the greater good and that killing for the state is an honorable duty.  While this is a classic tribal mentality and in days past, the instinct to defend the tribe is rational.
He does fine as a one-dimensional wise-ass, but the real power and electricity of his performance is not unlocked until halfway through the ridiculously perturbed 3rd Act. However, in our day, we live under a global shadow government monocracy that utilizes technological propaganda to manipulate nationalism for evil ends. Once he breaks out of the confines of the narrative and goes all in, he is just as bad-ass as the Film needs him to be, and he appears to have just as much fun as we are having watching the Film. Roxy, outcasted female lead, who manages to become a part of Kingsman and take part in the rebel three person mission, who didn’t have any human qualities.
A typical female character, who tries to get her way in a man’s game, yet ends up being a nervous girl who constantly needed support and motivation through every task.
Jackson‘s silly lisp initially takes away any sort of satire or parody he may be going for in the Role. I was hoping for some kind of explanation to why Valentine’s assistant had the kick-ass blade prosthetic on her legs or any kind of a backstory for her but nope, we got nothing.
There’s gizmo galore, and Vaughn demonstrates how to handle spy gadgetry in the modern age.

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